HIM AND ‘HUR’

What are we to make of Charlton Heston? He’s earned a respectable reputation as an actor, but now he’s determined to pass himself off as a rewriter of history (Letters, March 17). Maybe what “irritates the hell” out of him is not that Gore Vidal inserted a favorable image of gay men into “Ben-Hur,” but that Heston had no clue it was happening around his own character.

Heston should put aside his irritation at unwittingly having played a role with a homosexual subtext. His letter’s attitude serves only to advance the homophobia extant in the industry.

As the new Dr. Marvin H. Leaf of Calendar Letters, Heston might consider using his fame and power to end Hollywood’s homophobia, rather than attacking people like Vidal, who have long been doing just that.

DOUGLAS P. BEDARD

North Hollywood

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Charlton Heston just doesn’t get it. His work has been a plethora of homosexual subtext. Example: His living arrangement with Edward G. Robinson in “Soylent Green.” They accused roommates Cary Grant and Randolph Scott of a lot worse. And you’re not going to tell me that Orson Welles’ pained face wasn’t looking at him funny in “Touch of Evil.” Unrequited love?

But it’s his latest work that makes the most compelling case: the beer commercial, when at a party that perennial whiner comes up to him and cries out, “I love you man.” C’mon! I love you man! I love you man!!! Hey, even Stephen Boyd didn’t say that.

JAY LEVINE

Sherman Oaks

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Having seen Charlton Heston in films and on stage, it seems to me that if he can refer to himself as an actor, Gore Vidal should be able to refer to himself as a screenwriter.

ELIZABETH McLORRIN

North Hollywood